TY  - CONF
  - Kulezic-Wilson, D.
  - Music and the Moving Image
  - The Music of Film Silence
  - NYU Steinhardt
  - Oral Presentation
  - 2008
  - ()
  - 30-MAY-08
  - 01-JUN-08
  - The differences in the employment of music between European and Hollywood cinemas, which have been rightly ascribed to dissimilar ideological and aesthetic interests, can also be expressed through the comparison of their respective attitudes toward silence and summarised by saying that European cinema boasts a relatively high threshold of silence tolerance compared to Hollywood which doesn't have any. One reason for this is that silence in film is usually associated with long contemplative shots and a prevailing sense of discomfort, which doesn't exactly comply with Hollywood's idea of entertainment. On the other hand, the astonishingly wide range of sonic designs that have been perceived and interpreted as silent reminds us that the very notion of silence has markedly different meanings in different film contexts. Hitchcock's concept of silence in The Birds (1963), for instance, and Alejandro González Iñárritu's depiction of the silent universe of the deaf girl in Babel (2006) are worlds of sonic layers apart, indicating the existence of numerous possibilities of creating and utilising silence in film.This paper will look at some cases in which silence has been 'cast against type' to act as a compositional device in an approach to film that is deeply inspired by music and will use examples from The Matrix and Babel to illustrate how the expressive potential of silence expands when incorporated into a musically conceived audio-visual space. 
  - Culture Ireland
DA  - 2008/NaN
ER  - 

@unpublished{V60789615,
   = {Kulezic-Wilson,  D. },
   = {Music and the Moving Image},
   = {{The Music of Film Silence}},
   = {NYU Steinhardt},
   = {Oral Presentation},
   = {2008},
   = {()},
  month = {May},
   = {01-JUN-08},
   = {{The differences in the employment of music between European and Hollywood cinemas, which have been rightly ascribed to dissimilar ideological and aesthetic interests, can also be expressed through the comparison of their respective attitudes toward silence and summarised by saying that European cinema boasts a relatively high threshold of silence tolerance compared to Hollywood which doesn't have any. One reason for this is that silence in film is usually associated with long contemplative shots and a prevailing sense of discomfort, which doesn't exactly comply with Hollywood's idea of entertainment. On the other hand, the astonishingly wide range of sonic designs that have been perceived and interpreted as silent reminds us that the very notion of silence has markedly different meanings in different film contexts. Hitchcock's concept of silence in The Birds (1963), for instance, and Alejandro González Iñárritu's depiction of the silent universe of the deaf girl in Babel (2006) are worlds of sonic layers apart, indicating the existence of numerous possibilities of creating and utilising silence in film.This paper will look at some cases in which silence has been 'cast against type' to act as a compositional device in an approach to film that is deeply inspired by music and will use examples from The Matrix and Babel to illustrate how the expressive potential of silence expands when incorporated into a musically conceived audio-visual space. }},
   = {Culture Ireland},
  source = {IRIS}
}